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The Calendar was unqualified in its praise of Joyce, and recognised him as an essentially comic writer. As for Rickword’s own writing, we might see the logic of ‘The Returning Hero’ at work by glancing over one of his volumes of poetry, namely Invocations to Angels (1928). In ‘To the Sun and Another Dancer’ he takes Weston’s hypothesis that Christianity is a mystery cult deriving from fertility religion and, rewriting the Easter story in terms of the mating of male sun and female earth, produces his own mythically structured love poem.
Two reservations have to be made, however. Firstly, Eliot uses Joyce’s fiction as the opportunity to oppose ‘the mythical method’ to ‘the narrative method’. He assumes that what matters most about Ulysses is the paradigm inherited from Homer rather than the actual tale it tells, the protagonist of which is a modest middle-aged Irishman and not a Greek warrior. That is, Eliot privileges form over matter, structure over story. It is as if he has forgotten what the classical Greek philosopher Aristotle (in other respects a strong influence upon him) meant when in his Poetics he used mythos in the sense of ‘emplotment’.
The only way to counter this shallow logic of progress was to recover the wisdom of archaic ceremony: First you have to have the period of disorder, chaos, returning to a primeval disaster region. Out of that you purify the elements and find a new seed of life, which transforms all life and all matter and the personality until finally, hopefully, you emerge and marry all those dualisms and opposites. Then you’re not talking about evil and good anymore but something unified and pure. Our music and personalities are still in a state of chaos and disorder with maybe an incipient element of purity kind of starting.